사학과 창립 60주년 기념호 : 논문 ; 허균이 올린 사명대사 사시에 대하여

허경진 ( Kyoung Jin Hur ) 동국사학회 2006 동국사학 Vol.42 No.-

유구역루(維鳩驛樓)와 간신거국도(諫臣去國圖)

허경진,Hur, Kyung-Jin 목원대학교 인문과학연구소 2000 어문학연구 Vol.9 No.1

백낙천 문집의 수입과 한국판본

허경진 ( Kyoung Jin Hur ) 우리한문학회 2008 漢文學報 Vol.19 No.-

연세대학교 소장 고서의 문헌적 가치 ; 13종 저술을 통해본 관인 정원용의 기록태도

허경진 ( Kyoung Jin Hur ) 연세대학교 국학연구원 2009 동방학지 Vol.146 No.-

일반논문 : 왕세정(王世貞) 호(號)의 독음(讀音) 문제와 "연구"와 "번역"의 결합

허경진 ( Kyoung Jin Hur ),박경남 ( Kyeong Nam Park ) 연민학회 2011 연민학지 Vol.16 No.-

본고는 ``감주``와 ``엄주``로 혼동을 보였던 ``감州``의 독음 문제를 하나의 사례로 삼아 엄밀한 번역을 위해서는 ``연구자``와 ``번역가``의 결합이 필요함을 강조하였다. ``감州``는 왕세정의 號로 그동안 번역자들 사이에서 통일된 讀音으로 번역되지 못하고, ``감주``와 ``엄주``로 번역되어 왔는데, 본고는 그 사례를 수집?정리해서 도표로 제시한 후, 이를 연대별로 정리하면서 ``감州``에 대한 표기가 ``감주``에서 ``엄주``로 변화되는 추이를 살폈다. 또한 왕세정이 자신의 호인 ``감州``의 기원을 밝히고 있는 작품인 「감山園記」를 분석함으로써 최종적으로 ``감州``를 ``엄주``로 읽는 것이 타당함을 확정할 수 있었다. 본고는 다만 ``감州``라는 하나의 용어에 대한 정확한 譯語를 찾기 위한 일련의 과정을 보여준 것에 불과하지만, 이를 통해 정확하고 엄밀한 번역을 위해서는 조금 느리더라도 사전뿐 아니라 관련문헌까지를 세심하게 고찰하는 전문가적 학술 번역이 필요함을 환기하고자 하였다. This essay is to review the separate reading pronunciations(讀音) matter of Wang Shi Zhen 王世貞`s adds names, and through that, put forward the needs of combination research with translation. ``감州`` is Wang Shi Zhen 王世貞`s adds names, it has not been translated as the same pronunciations among the translators. Some translated it as ``Gamju``(감주) and others translated it as ``Eomju``(엄주). In this article, after represented the research result in chart and rearranged in chronologically, we looked over the transition from ``Gamju``(감주) to ``Eomju``(엄주) in translated terms. Through analysis about Yanshanyuanqi 「감山園記」in which the origin of Wang Shi Zhen 王世貞`s adds names has been revealed, we could come to a definite decision that the separate reading pronunciations of ``감州`` is ``Eomju``(엄주). Even though this article showed one example to find the accurate translated words of ``감州``, we hope that it called translator`s attention to the need of professional academic translation that consider a related original text as well as the dictionary carefully.

근대 조선인의 만주 기행문 생성 공간

허경진(Hur, Kyoung-Jin),강혜종(Kang, Hye-Jong) 한국문학회 2011 韓國文學論叢 Vol.57 No.-

근대 조선인들에게 만주 여행은 단순한 타국체험을 넘어 민족 공동체의 생존과 결부된 문제였다. 이들이 여행을 통해 체험한 만주의 ‘문화’는 전통적 가치와 근대적 가치, 개인의 실존의 문제와 민족의 존립 문제 등이 치열하게 공존하는 것이었다. 즉, 만주 기행문은 개화기ㆍ일제 강점기 조선 지식인들의 실천적 문화 해석의 여정을 담은 글이라고 볼 수 있다. 1920~30년대 근대 조선인의 만주 기행문은 때로는 식민지적 상황을 타개하기 위한 목적으로 쓰였고, 때로는 일본의 대동아 공영권을 공고하게 하기 위한 목적으로 기획되기도 하였다. 또한 만주와 조선의 소식을 서로의 지역에 전하며 담론 형성을 촉진하는 문화교류 매체적 특징을 갖추고 있었다. 본고에서는 만주국 성립과 일제의 만주 이민정책 등의 전후로 정치적 영향관계나 여행 주체에 따라 조선인의 만주 여행과 기행문의 성격이 달라지는 지점들을 확인하고, 당시 만주의 문화와 여행자들의 만주 문화인식을 특징적으로 보여주는 만주의 ‘문화공존’의 양상에 대한 몇 가지 장면에 주목하였다. 먼저, 오족협화(五族協和), 왕도낙토(王道樂土)의 제국주의적 의도가 반영된 ‘만주국’의 문화적 질서와 가치가 당시 박물관과 박람회를 통해 작자들에게 전달되고 해석되는 방식을 살폈다. 반면에 외인묘지를 마주대하는 시선에서는 만주의 문화 공존 메커니즘에 제국주의적 정치 논리나 문화적 계급의식 등으로 조직․포장된 이면의 모습이 포착되고, 인간의 실존적 고민과 성찰을 보여주고 있었으며, 이것이 만주국 성립 전후로 기행문이 쓰인 시대적 배경과 관련이 있는 점 등을 고찰하였다. 특히, 본고에서는 전통시기 동아시아의 공통 문자였던 한자를 이용한 전통적 문화교류 수단이었던 필담과 한시의 수창이 당시 만주 여행 과정에서 여전히 유용했다는 점에 주목하고, 1930년대 이전 만주 기행문을 구성하는 주요한 부분이었다고 판단하였다. 여행자들은 이러한 전통적 글쓰기를 통해 단순한 만주 ‘관광’에 머무르지 않고, 직접적으로 만주지 역의 사람들과 시대적 상황에 대한 정보나 인간적 정감을 나누고자 하는 태도를 보였다. 필담은 언어적 장벽을 넘어 세대와 성별을 아우르며 교류할 수 있는 문화적 수단이었고, 마치 시화(詩話)처럼 서술된 만주 기행문에서, 작자와 만주 현지에 거주하는 동지들의 애국심과 당시의 상황은 한시 작품들을 통해 효과적으로 표현되었다. This paper aims to study on the way of perceiving and exchanging cultures in Korean travelogues of Manchuria written in 1920's and 1930's. Manchuria had been the base of lives set up by Korean immigrants and the place for independence movement, so for Korean, travel to Manchuria was more than just travel because it was related with their nation's existence. The ‘cultures’ experienced by them through travel were the mixture of traditional and modern values or the problem of personal and national existence. The Korean travelogues of Manchuria were some kind of report for news papers and magazines, so it arouse readers interests and make them have motive to experience Manchuria promoting the discourse of Manchuria. Also, the travelogues were functioning as a media to exchange cultures of Manchuria and Korea each other. Among many travelogues mainly covering about exotic scenery, Manchuria's modernization, Korean immigrants' lives in Manchuria, this paper focuses on several scenery to catch some features of Manchu culture mixed with various ethnic groups and showing political situation at that time. First, this paper considers museum and exposition as the media to convey Manchuguo(滿洲國, 1932~1945)'s cultural values imposed by Japanese government to travelers. And then it moves to the perspective to the cemetery of foreigners and explains that the descriptions of cemetery show hidden side of co-existence of Manchu cultures organized by imperialistic mechanism. Expecially, this paper pays attention to the traditional way of exchanging cultures through conversation by writing using Chinese characters and composing Chinese classical poetry, Hanshi(漢詩). For example, Korean travelers shared their thoughts about international situation with Chinese soldier, realized the development of Chinese woman or felt a sense of closeness with children by writing using Chinese characters. And some traveler who went to Manchuria to see Korean immigrants' lives and find the way of improving their situation and his nation associated with people in Manchuria exchanging Chinese poetry. Therefore it proves that Chinese characters were still useful means of exchanging cultures despite of modernization and the atmosphere of concentrating mother tongue. Traditional writing style was one of important feature of Korean travelogues of Manchuria in modern times, especially before 1930's.

『東人詩話』를 통해 본 語와 意의 문제

허경진(Hur, Kyoung-Jin),박순(Park, Soon) 한국문학회 2010 韓國文學論叢 Vol.55 No.-

서거정의 『東人詩話』에서는 語와 意개념이 폭넓게 활용되면서 시에 대한 비평이 이루어졌다. 語와 意에 관한 인식은 오랜 연원을 가지고 있으며, 우리나라에서는 시화 비평의 초기 단계에서부터 語.意개념을 드러내었는데, 『동인시화』에서는 전대 시화집들보다 더욱 풍부하게 語와 意를 활용한 비평을 보여준 것이다. 이처럼 語와 意가 비중 있게 쓰였다면 이것이 시 비평의 준거로써 어떻게 기능하였는지, 그 쓰임새는 어떻게 나타나는지 생각해보아야 할 것이다. 이에 본고에서는 동인시화에 드러난 語와 意의 문제를 천착해보고자 하였다. 연구 방법으로는 먼저 『동인시화』 속에서 語와 意가 쓰인 모든 예를 표를 통해 제시하였으며, 이를 통해 『동인시화』 속에서 語.意개념이 얼마나 많이, 어떻게 드러났는지를 조감할 수 있도록 하였다. 다음으로 語와 意가 쓰여 비평이 행해진 예들을 살펴보면서 구체적인 접근을 시도하였다. 여기에서는 보다 명확한 분석을 위해 '語가 쓰인 경우'와 '意가 쓰인 경우', 그리고 '語와 意가 함께 쓰인 경우'를 각각 구분하여 살폈다. 이렇게 면밀한 분석을 거친 후 『동인시화』에서 語와 意가 쓰인 양상을 정리하였다. 語의 경우는 言, 詞, 辭, 詞語가 통용되어 쓰였는데 이들은 '작자의 표현', '시어의 운용'(혹은 '표현 방식'), '시어'의 의미로 쓰였으며, 意의 경우는 '사상과 감정', '意象'이란 의미로 쓰였다. 한편 語와 意가 詞意, 語意, 言意의 형태로 한 단어처럼 쓰인 예가 있는데, 대부분 '말의 뜻', 즉意(사상과 감정)와 같은 의미로 쓰였으며, '말과 뜻(표현과 사상.감정)'의 의미로 쓰인 경우도 있다. 語와 意가 함께 쓰였지만 구분되어 나타나는 예도 있다. 이런 경우에 語는 '표현'의 의미로, 意는 '사상과 감정'의 의미로 각기 변별되어 쓰였다. In Seo Geo-Jung(徐居正)'s 『DongInSiHwa(東人詩話)』, Eo(語) and Eui(意) concept is used widely and the criticism of poetry is done. The history of recognition in Eo(語) and Eui(意) has been so long and these concepts revealed from the early stage in poetry criticism in Korea. In 『DongInSiHwa』, criticism using Eo(語) and Eui(意) apply more extensively compare with previous ones. Eo(語) and Eui(意) is used well with importance like this, it is necessary that we think about how it works as criticism standards and how it is used and expressed. So I start to scrutinize Eo(語) and Eui(意) in 『DongInSiHwa』 through this research. I suggest all the examples using Eo(語) and Eui(意) in 『DongInSiHwa』 through table which is the first research method. We are able to get a wide view and understanding of the usage and the expression of Eo(語) and Eui(意) in 『DongInSiHwa』 how many times it is used and in which way it is shown. Then I make attempts to approach specifically checking examples of criticism using Eo(語) and Eui(意). I try to examine like these three, cases only using Eo(語), only using Eui(意) and using both. After these detailed analyzing, I explain aspects of Eo(語) and Eui(意) in 『DongInSiHwa』 in brief. Eon(言), Sa(詞), Sa(辭), SaEo(詞語) also used together in the case of Eo(語) and these words mean 'writer's expression', 'application of poetic word(or the way to express)', or 'poetic word(詩語)'. The case of Eui(意) means 'thought and emotion', 'image(意象)'. Meanwhile, there is an example of Eo(語) and Eui(意) is used like one word, mostly it means 'word meaning' that is Eui(意, thought and emotion) or 'word and meaning(expression, thought and emotion)' sometimes. Also, there are some cases that Eo(語) and Eui(意) is used at the same time and reveal separately. In this case, Eo(語) means 'expression' and Eui(意) means 'thought and emotion' each.

『燕?錄』을 통해본 鄭元容과 淸朝 文士들의 문화교류

허경진(Hur Kyoung-Jin),천금매(Qian Jin-Mei) 동북아시아문화학회 2009 동북아 문화연구 Vol.1 No.20

애스턴(Aston)의 조선어 학습서 『Corean Tales』의 성격과 특성

허경진 ( Kyung Jin Hur ),유춘동 ( Choon Dong Yoo ) 연세대학교 인문학연구원 2013 人文科學 Vol.98 No.-

This study is going to deal with 『Corean Tales』 which Russian Saint Petersburg`s research institute of Oriental Studies possesses presently. Due to the difficulty of access to the book, people just presumed the contents of it only with the title of it up to recently and said it would be one of the ``tale collections`` gathered and published by many foreigners during the period of Korean Empire. However, this book was not a tale collection gathered for some simple purpose but a story book made by a person named Kim Jaeguk who was Aston`s Chosun language teacher for his learning of Chosun language. Kim Jaeguk, Aston`s Chosun language teacher, not only made 『Corean Tales』 but also transcribed Chosun language study books made in Japan such as 『pyomindaehwa』 and 『gyorinsuji』 or Chosun language word-vocabulary collections including 『Ieon』 even before 『Corean Tales』 and gave them to Aston. And this book was made lastly. According to the memos written by Aston, Kim Jaeguk said that he would understand the fables like 『Reineke Fuchs』 very well which he had heard from a French missionary. Thus, the stories included in 『Corean Tales』 dealt with interesting as well as instructive contents by which Kim Jaeguk was inspired among the Western fables, and some of the old stories of Chosun were also added to them and embellished. To help Aston`s better understanding, he also added Chinese characters, and when pure Korean words were used, he put in the footnotes or synonyms for them. The original script for this book has not been verified yet up until now; however, considering the fact that most of the novels Aston owned then were rental books, we can assume that he must have used the rental books to make it. From the present perspective, he can be said to be ``the originator of Koreanology``. Therefore, Aston`s traces and the materials he collected can help us understand the actual status of Chosun literature as well as Chosun language from the late 19th century till the early 20th century. And it is highly significant in that it gives us many implications about how foreigners like Courant, Gale, or Allen did achieve the research results regarding Chosun language or Chosun literature or how they could made ``the books about Koreanology`` or ``tale collections``. This article is going to introduce and examine the contents of 『Corean Tales』 as the introductory discussion for it and also deal with many implications related with it.

그림과 찬으로 화폭 위에 남긴 朝ㆍ日 인사들의 교유

허경진(Hur Kyoung-jin),김지인(Kim Jean) 가천대학교 아시아문화연구소 2009 아시아문화연구 Vol.17 No.-

Throughout Sinographic cultural sphere in wich people used, it was natural that a painting have a panegyric for it. Panegyrics mean certain words which are inspired by the paintings' theme, and are supposed to be combined with paintings on the canvas. So the panegyric explains and extends the meaning of the painting. A piece of work should be understanded as a combined structure of layered meanings- not just as a painting neither just as a phrase. When members of Joseon Tongshinsa and Japanese of Edo era met, they exchanged many paintings and panegyrics. when they make a piece of work together by attaching some panegyrics to each others paintings, they had to consider others taste, because although they shared Sinographic culture, their taste for art were significantly different. For example, in Edo era Japan was a country of Samurais and merchants, while Joseon was a country of Confucian scholars and bureaucrats. People from Joseon thought being interested in material things are shallow, while Japanese of Edo era didn't think so. Painters and writers from each country knew they had different point of view, so tried to deal with this problem. And this study's first goal is to figure out how they considered each other's taste for art. Throughout Joseon Tongshinsa's 12 visits to Japan, many paintings with panegyrics had been exchanged between Joseon And Japan, and they have been studied well by previous studies done by Korean and Japanese researchers. But in previous studies, any attempt to analyze those pieces of works in balance between literary and pictorial aspect hasn't made. A piece of work was only studied as a painting, without considering literary aspect of the pieces. This study aims to analyze the literary aspect of works by studying panegyrics and how those works were made, and so to understand the pieces of work as a full text. And futhumore, how people with very different taste for art made pieces of work together.